John and Craig discuss the big movie news of the week: Disney buying Lucasfilm, and with it, the rights to Star Wars.
Craig and John ret-con the Austin Film Festival, placing themselves on panels in which they didn’t participate. It’s a chance to give the answers they would have given without the bother of moderators (and other people’s opinions).
A reader shares his notes on a Amazon Studios panel at this year’s Austin Film Festival.
Recording live at the Austin Film Festival, John and Craig take a look at The Black List’s pivot to a paid site, and what it means for screenwriters and the industry. Black List creator Franklin Leonard joins us for questions and criticism, as well as screenwriter Aline Brosh McKenna.
Franklin Leonard, creator of The Black List, has announced a new incarnation of his site that allows screenwriters to upload their scripts for review and rating — for a fee.
John and Craig discuss Frankenweenie and Superhero! before cracking open the mailbox to answer listener questions.
John and Craig talk about the new show John sold to ABC, which leads to a conversation about the differences between studios and networks, and how writers end up having relationships with both.
Josh Friedman and I just set up a new show called Chosen, produced by 20th Television for ABC. I’ll write the pilot, and if the show goes to series, Josh will run it.
What’s the difference between a reader and a producer? Much more than one high-profile online reader seems to believe. John and Craig discuss what producers do, and how one plausibly gets started.
John and Craig tackle eight questions on the profession of screenwriting, ranging from studio execs to sharing credit to pitching via video.
John and Craig are all action this week, looking at how screenwriters write those things characters do in a movie.
Craig and John celebrate one year of the podcast by going H.A.M. on the passive voice, the present progressive and reductive nonsense rules.
John and Craig answer four listener questions, on topics ranging from scene headers to ticket sales. And which is better for an aspiring screenwriter: a low-level job at a major agency, or a steady 9-to-5 job that allows time to write?
Can you sell a spec screenplay but retain the characters for other uses?
In his will, Beastie Boy Adam “MCA” Yauch left instructions that “in no event may my image or name or any music or any artistic property created by me be used for advertising purposes.” Wendy S. Goff looks at why that opens a legal can of worms.
Emma Coats’s list of 22 story rules moves from useful to delightful when illustrated with Lego.
John and Craig talk critics, and how trying to anticipate their reviews can cause paralysis. It’s funny how the screenwriter only seems to get mentioned in negative reviews. Well, not funny, actually. Frustrating. And possibly statistically verifiable, so listen in if you’re looking for a research project.
A listener wonders if the lack of female screenwriters stems in part from the social part of the profession, specifically confidence in one’s ability.
I quite like Colson Whitehead’s tongue-and-cheek writing advice.
Dustin Rowles looks at how studios learned to look beyond the summer release schedule.
Chuck Wendig has 25 things you should know about antagonists.
Craig and John tackle a question screenwriters ask themselves at every stage in their careers: of all things I could write, which thing should I write?
Craig and John skip Comic-Con so they can discuss annoying and unproductive habits of development executives, along with advice for working with screenwriters.
Gavin Palone looks at why why so many more writers (and directors and actors) in Hollywood are paying the extra money for a manager.
Stephen Harrigan reflects on his career writing TV movies of the week.